Colourful, genre-breaking, and rave-inspired are all themes that come to mind when diving deep into the world of Cybergoth. But what exactly is it? A rip-off of ‘Cyberpunk’? Modern nostalgia bait? The answer may be more complicated.
The term ‘Cybergoth’ came from Games Workshop in 1988, but the subculture developed separately, with the term being used to describe German and Austrian raves. Deeply connected to its sibling, Cyberpunk, which was also popular during the 1990s and 2000s, Cybergoth’s fashion statements are embedded in the rave scenes and goth clubs of the time. Unlike its futuristic twin, however, Cybergoth combines elements of industrialism and motifs of gothic ravers.
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Just from appearance, Cybergoth branches out from typical goth conventions and reinvents itself with neon colours, goggles, and hair extensions. Your usual Cybergoth look incorporates radioactive symbols, gas masks, ripped fishnets, and tight black trousers or skirts. Androgyny shines in this fashion, with every gender being able and welcome to pull off the look.
The extravagant hairstyles of Cybergoth may be its most alluring aspect. Cybergoths will use synthetic dreads (often called cyberlox) to create an industrial, dystopian look without the time-consuming maintenance that comes with actual dreads. Some Cybergoths may opt to DIY their hair pieces with LED lights, yarn or wool (or mix in a bit of the kandi subculture with beads). This futuristic look creates an almost robotic, disco-esque techno look that embodies the niche culture from which it originated.
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Not only do Cybergoths take inspiration from rave culture, but they also create their own ‘Cybergoth dances’. Cybergoths will typically perform these dances to genres such as EBM, Futurepop, and Aggrotech, primarily electronic genres. In the early 2010s, these dances from niche spaces gained millions of views online. They gave the outside world a small taste of the high-energy world of Cybergoth dance. These dances can be characterised by their bold stomping, rhythmic movements, and punching motions; a fierce dance that visually reflects a far-away future filled with technological advancement beyond current comprehension.
While there haven’t been many direct representations of Cybergoths in media, some films feature similar aesthetics to Cybergoth culture. Such films include The Matrix (1999), Blade Runner (1982), Frankenstein (1918), Alien (1979), and Fallen Angels (1995).
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However, since the 2000s, its popularity has steadily declined, with many arguing that the sub-subculture is now out of fashion. As with most subcultures, it lurks in small internet spaces. In comparison to its contemporaries, like gothic rock, it has stayed niche and seen little resurgence.
Additionally, in recent years, club culture has seen a significant decrease. Gen Z is less likely to be hitting the clubs and engaging with cyber-aesthetics because of this change. The cost of living, changing preferences, and the lingering effects of the 2020 pandemic are standout reasons for this. Nightclubs face increasing challenges, including rising costs, greater competition, and changing consumer preferences.
The nightlife scene wasn’t the cause of the decrease in interest in Cybergoth, of course, but it does explain a possible reason why we have not seen it make a comeback. In some parts of the world, though, Cybergoth thrives at music festivals like the Wave-Gotik-Treffen in Germany. The Wave-Gotik-Treffen is one of the world’s largest annual gatherings for goths. It welcomes people from various goth backgrounds, with the festival running for over seven days during Whitsuntide.
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Criticisms of Cybergoth follow the argument that the style is too far removed from the typical goth scene to be truly identified as a goth subculture. It shares no DNA with Gothic Rock, or even Post-Punk. Cybergoth builds its identity upon raves, industrialism, and unique dances. Some traditional goths have taken offence to this subculture being defined as ‘goth’.
Despite this, the label persists because of its dark cyber aesthetics that lean towards the toxicity of technology and machinery. Whether Cybergoth is considered ‘goth’ depends on the person and how they themselves define what being ‘goth’ means for them. Perhaps the question isn’t whether Cybergoth is goth, but whether goth has to fit into one definition at all.
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